Against Creativity

In his book "Against Creativity," author Oli Mould presents a compelling and unconventional perspective on the widely celebrated concept of creativity in our modern world. At first glance, the title might seem counterintuitive – after all, who could be against creativity? However, Mould's work delves deep into how the notion of creativity has been co-opted and transformed by neoliberal capitalism, often to the detriment of society and individuals.

Introduction

Creativity is often touted as a universal good, a quality that everyone should strive to cultivate. From boardrooms to classrooms, the call to "be creative" echoes as a rallying cry for success and innovation. However, Mould challenges this conventional wisdom, arguing that our current obsession with creativity may be hiding a more insidious agenda.

The book explores how the concept of creativity has been reshaped and mobilized to serve the interests of capitalism, often in ways that are oppressive and counterproductive to genuine innovation and social progress. By examining various aspects of modern life – from the workplace to urban development – Mould uncovers the hidden costs of our creativity-obsessed culture.

The Appropriation of Creativity by Neoliberal Capitalism

One of the central arguments in "Against Creativity" is that neoliberal capitalism has effectively hijacked the concept of creativity, transforming it from a divine power or means of personal expression into a tool for economic growth and individual marketability.

The Evolution of Creativity

Mould takes us on a journey through the history of creativity, showing how its meaning has shifted over time:

1. In ancient times, creativity was seen as a sacred power possessed by gods, capable of conjuring entire worlds.
2. During the Enlightenment, creativity became an individual trait, primarily associated with artists who used it to communicate complex ideas and emotions.
3. In the 1980s and 1990s, with the rise of neoliberalism, creativity was redefined once again.

Creativity in the Neoliberal Era

Under neoliberalism, which views society as an economic marketplace and people as rational, self-interested actors, creativity has been recast as a tool for increasing one's economic value. This shift has had profound implications:

1. Employers now seek "entrepreneurial" workers who can apply their creativity to generate profit.
2. Governments have embraced the rhetoric of creativity, using it to justify deregulation and cuts to social services in the name of "encouraging innovation."
3. Even right-wing politicians have begun criticizing traditional institutions like schools and hospitals for being insufficiently "agile" or creative.

This redefinition of creativity has permeated our society, influencing everything from how we work to how we view ourselves and our worth.

The Dark Side of Creative Work

While the idea of creative work often conjures images of fun, flexible, and fulfilling careers, Mould argues that the reality is often quite different. Under capitalism, the demand for creativity often translates into longer hours, harder work, and less job security.

The Myth of the Creative Workplace

Mould challenges our romanticized notions of creative workplaces:

1. The "fun" open office with foosball tables often comes with the expectation of 60-hour workweeks.
2. The hip café filled with artists and designers is likely populated by financially struggling freelancers.
3. The convenience of a home studio is offset by the inability to ever truly "clock out."

The Creative Class and Its Discontents

Mould critically examines Richard Florida's concept of the "creative class," which suggests that highly educated workers who make money from their unique skills and talents will drive the economy of the future. While this idea sounds appealing, Mould argues that it has been exploited by employers to cut costs and shift risks onto workers:

1. Companies increasingly rely on cheaper freelance contracts rather than hiring full-time staff.
2. Workers are often expected to provide their own workspaces.
3. Some companies justify paying less for creative work by arguing that the personal fulfillment or exposure is compensation enough.

This model of creative work leads to constant competition among workers and requires continual labor to stay afloat in the gig economy.

Alternative Models of Creative Work

Mould doesn't leave us without hope, however. He points to alternative models of organizing creative work that prioritize collaboration over competition:

1. The Coffee Cranks Cooperative in Manchester, England
2. Mondragón University in Spain

These organizations experiment with novel approaches to production, task division, and profit distribution, demonstrating that creativity can be used to reimagine work itself rather than simply serving as a tool for increased productivity within traditional wage relations.

Redefining Creativity: Embracing Radical Differences

One of the most thought-provoking aspects of Mould's argument is his call to reconsider what we value as creative. He challenges us to look beyond the narrow definition of creativity that celebrates only those ideas that lead to economic success or come from individuals who fit society's dominant norms.

The Bias in Our Creative Icons

Mould points out that those we typically celebrate as creative geniuses – figures like Steve Jobs, Mark Zuckerberg, and Elon Musk – often conform to society's conception of "normal":

1. They are usually white, able-bodied men from wealthy Western countries.
2. They often come from positions of advantage, with access to greater resources and powerful social networks.
3. When their ideas stray from the norm, they're rewarded and seen as innovative.

Valuing Different Ways of Being

In contrast, Mould argues for a broader, more inclusive understanding of creativity that values radically different ways of being:

1. He suggests we consider people with altered sensory abilities, such as those who are blind or deaf, as having unique and valuable perspectives rather than disabilities that need to be "fixed."
2. Mould proposes reframing disabilities as "diffabilities" – valid experiences that allow for completely different perspectives on the world.
3. He argues that embracing such differences expands what we consider valuable human experiences, which is truly at the heart of creativity.

This radical reframing of creativity challenges us to appreciate alternative subjectivities and ways of experiencing the world, potentially opening up new avenues for genuine innovation and social progress.

Creativity as a Mask for Austerity

In a particularly insightful section, Mould examines how the rhetoric of creativity has been used to justify and even celebrate austerity measures in the wake of the 2008 financial crisis.

The Financial Crisis and Its Aftermath

Mould begins by noting the irony that the financial crisis itself was partly caused by the "creative" financial products dreamed up by bankers. Yet, in the aftermath:

1. Banks received massive bailouts from governments.
2. To pay for these bailouts, many countries implemented severe cuts to public services.
3. Rather than questioning the value of neoliberal creativity, politicians doubled down on it as a solution to budget shortfalls.

Creativity in the Face of Budget Cuts

Mould shows how various public institutions were forced to get "creative" in the face of budget cuts:

1. Museums and galleries had to compete for corporate sponsorship, even if those sponsors were ethically questionable.
2. Libraries expanded their services to include job training and mental health support, often at the expense of their core mission.
3. Cities engaged in desperate attempts to attract big businesses through tax breaks and regulatory exemptions.

These measures were often praised as creative solutions, but Mould argues they were really just attempts to cope with inadequate funding and support.

Big Tech and the Monetization of Creativity

Mould's critique extends to the world of big tech, where he argues that the vast potential of our digital age is being squandered in the pursuit of profit.

The Promise and Reality of Silicon Valley

Mould traces the evolution of Silicon Valley:

1. It began with a culture that valued experimentation, collaboration, and risk-taking.
2. Over time, this creative energy congealed into a handful of ultra-powerful tech companies.
3. Now, these companies primarily use their vast resources and talent pools to maximize profits rather than improve society.

The Misuse of Technological Advancements

Mould points out how potentially transformative technologies are being used primarily for commercial gain:

1. Artificial intelligence and machine learning are refined as profit-seeking tools rather than for societal benefit.
2. Brilliant young programmers are employed to tweak algorithms that track user behavior and serve targeted ads.
3. The "sharing economy," which could have fostered genuine collaboration, instead monetizes human relations through platforms like Airbnb and Uber.

This focus on monetization, Mould argues, represents a missed opportunity to use our technological advancements for more meaningful societal change.

The Illusion of the Creative City

Another key area of Mould's critique is the concept of the "creative city," which he argues often leads to gentrification and the homogenization of urban spaces rather than genuine community development.

The Rise of the Creative City Concept

Mould traces the origins and spread of the creative city idea:

1. It began in the late '90s as a strategy for struggling cities to reinvigorate their economies through arts and cultural programming.
2. The success of projects like the Guggenheim museum in Bilbao, Spain, inspired many other cities to adopt similar strategies.
3. These strategies often involve rebranding economically marginal neighborhoods through cultural centers, public art, and amenities like ping-pong tables.

The Problems with Creative City Initiatives

Mould identifies two main issues with this approach:

1. Many of these "creative" changes are formulaic, imposing generic aesthetic interventions that make all "creative cities" feel the same.
2. These projects often prioritize attracting new, wealthier residents over addressing the needs of existing communities.

A More Genuine Approach to Urban Creativity

Mould suggests that a truly creative urban policy would:

1. Be more sensitive to the specific needs and characteristics of each neighborhood.
2. View neighborhoods as communities to be nurtured rather than commodities to be bought and sold.
3. Prioritize practical needs like better social services over flashy cultural amenities.

The Limitations of Capitalist Creativity

Throughout the book, Mould consistently returns to the idea that our current conception of creativity is fundamentally limited by its ties to capitalism.

Characteristics of Capitalist Creativity

Mould argues that creativity under capitalism is:

1. Focused on inventing new products and monetizing social relations.
2. Highly individualistic and competitive.
3. Ultimately reinforces existing social and economic hierarchies.

An Alternative Vision of Creativity

In contrast, Mould proposes a different understanding of creativity:

1. One that builds alternatives to the capitalist system.
2. Allows us to explore the nuances of human experience without profit as the primary motive.
3. Has the potential to change the world for the better by fostering genuine innovation and social progress.

Final Thoughts: Reclaiming Creativity

"Against Creativity" is not, despite its title, an argument against creativity itself. Rather, it's a call to reclaim creativity from the narrow, profit-driven definition that has come to dominate our society.

Mould challenges us to think critically about what we consider creative and why. He asks us to consider whether our current obsession with creativity is truly serving us – as individuals and as a society – or whether it's primarily serving the interests of capitalism.

By exposing the ways in which the concept of creativity has been co-opted and transformed, Mould opens up space for us to imagine a different kind of creativity. This is a creativity that values diverse perspectives, that seeks to solve social problems rather than just create new products, and that isn't afraid to challenge existing systems and structures.

In the end, "Against Creativity" is a thought-provoking critique that encourages us to look beyond the surface-level celebration of creativity in our culture. It pushes us to consider what true creativity might look like in a world not dominated by the profit motive, and how we might work towards fostering that kind of creativity in our lives and communities.

By questioning the conventional wisdom around creativity, Mould's work provides a valuable perspective for anyone interested in innovation, social progress, or the future of work and society. It's a challenging read that may change how you think about creativity – and perhaps inspire you to approach your own creative endeavors in a new, more meaningful way.